artist
Carl Michael von Hausswolff
Sweden
Work in exhibition + concert 16 June
Carl Michael von Hausswolff (b. 1956, Linköping, Sweden) has worked as a composer using recording technology as his main instrument and as a conceptual visual artist using light projections, film/video and still photography since the end of the 70s.
His main interest lies in the unknown. Electronic voice phenomena, energy pattern prints and chronophysical delays and remnants. His secondary interest lies within the regions of human social contact, development and structure. His third interest is the development of relations between pure abstract electronic sound and membrane captured sonic emissions of micro- and macro-structures.
He has exhibited at dOCUMENTA (Kassel), the biennials in Venice, Santa Fe, Moscow, Liverpool, Istanbul, Moss, Sarajevo. His music has been played in festivals such as Sonar (Barcelona), CTM (Berlin), L’audible (Paris), el niche Aural (Mexico City), MUTEK, (Montreal) etc. and released works on record by labels like RasterNoton (Berlin), Touch (London), Room40 (Brisbane) and iDeal (Göteborg).
Von Hausswolff recently curated the sound-installation freq_out (now named freq_wave) in Los Angeles. He collaborates with Electronic Voice Phenomena (EVP) researcher Michael Esposito, composers Hans-Joachim Roedelius, Mark Fell and Christopher Chaplin, and is a member of the artistic duos Dark Morph (with Jónsi of Sigur Rós) and Travelogue […] (with Chandra Shukla). He has also collaborated with Pan sonic, The Hafler Trio, Freddie Wadling (in Blue For Two) and Erik Pauser (as PHAUSS). The conceptual art work The Kingdoms of Elgaland-Vargaland is a large project that has been going on for over thirty years in collaboration with Leif Elggren.
Hausswolff lives and works in Stockholm, Sweden.
Carl Michael von Hausswolff
Electronic Voice Phenomena: The Lady in Yellow: “Look At Me … You’re Gone” 2025
Audiovisual installation
Variable dimensions
The Lady in Yellow: “Look at Me… You’re Gone” channels the whispered lore of the Alby estate, where a fleeting figure in yellow is said to drift among the trees. Drawing on the alleged history of two women — a mother Karen Nilsdatter and her daughter Margrete Kristine Willadsdatter — who lived here in quiet isolation around 1790–1805, the work harnesses EVP (Electronic Voice Phenomena) to summon their elusive echoes. Layering static, spectral murmurs, and barely audible creaks, it conjures a sonic conversation between the present and the unknown. In this charged atmosphere, moments of recognition slip away just as they surface, mirroring the estate’s whispered mythology. Within Between / Worlds: Resonant Ecologies, this piece underscores a liminal threshold—where living and departed co-resonate in a shifting field of sound.
Concert
Carl Michael von Hausswolff constructs a sonic web, weaving and mixing sounds from Tibetan thigh-bone flutes, EVPs from the sunken World War II ship Blücher, Tonga humpback whales, and more into a massive drone-style improvisation using digital samples and analogue-generated sine wave frequencies.
